Сердце женщины: Автобиография Майи Энджелоу

1961 memoir by Maya Angelou

The Heart of a Woman (1981) is an autobiography by American writer Maya Angelou. The book is the fourth installment in Angelou's series of seven autobiographies. The Heart of a Woman recounts events in Angelou's life between 1957 and 1962 and follows her travels to California, New York City, Cairo, and Ghana as she raises her teenage son, becomes a published author, becomes active in the civil rights movement, and becomes romantically involved with a South African anti apartheid fighter. One of the most important themes of The Heart of a Woman is motherhood, as Angelou continues to raise her son. The book ends with her son leaving for college and Angelou looking forward to newfound independence and freedom. Like Angelou's previous volumes, the book has been described as autobiographical fiction, though most critics, as well as Angelou, have characterized it as autobiography. Although most critics consider Angelou's first autobiography I Know Why the Caged Bird Sings more favorably, The Heart of a Woman has received positive reviews. It was chosen as an Oprah's Book Club selection in 1997. Critic Mary Jane Lupton says it has "a narrative structure unsurpassed in American autobiography" and that it is Angelou's "most introspective" autobiography. The title is taken from a poem by Harlem Renaissance poet Georgia Douglas Johnson, which connects Angelou with other female African American writers. African American literature critic Lyman B. Hagen states, "Faithful to the ongoing themes of survival, sense of self, and continuing education, The Heart of a Woman moves its central figures to a point of full personhood". The book follows Angelou to several places in the US and Africa, but the most important journey she describes is "a voyage into the self."

The Heart of a Woman, published in 1981, is the fourth installment of Maya Angelou's series of seven autobiographies. The success of her previous autobiographies and the publication of three volumes of poetry had brought Angelou a considerable amount of fame by 1981. And Still I Rise, her third volume of poetry, was published in 1978 and reinforced Angelou's success as a writer. Her first volume of poetry, Just Give Me a Cool Drink of Water 'fore I Diiie (1971), was nominated for a Pulitzer Prize. Writer Julian Mayfield states that Angelou's work set a precedent not only for other black women writers but for the genre of autobiography as a whole. refn|group=note|Mayfield called Angelou's first autobiography, I Know Why the Caged Bird Sings, "a work of art that eludes description". It made her, as scholar Joanne Braxton stated, "without a doubt   America's most visible black woman autobiographer." Angelou was one of the first African American female writers to discuss her personal life publicly, and one of the first to use herself as a central character in her books. Writer Hilton Als calls her a pioneer of self exposure, willing to focus honestly on the more negative aspects of her personality and choices. Her husband Paul Du Feu talked her into publishing the book by encouraging her to "tell the truth as a writer" and to "be honest about it." something she does not mention in the book. Also in 1957 and not discussed in the book, her first album, Miss Calypso, was released; it was reissued as a CD in 1995. According to Als, Angelou sang and performed calypso music because it was popular at the time, and not to develop as an artist. and dismissed in the book.

The events described in The Heart of a Woman take place between 1957 and 1962, beginning shortly after the end of Angelou's previous autobiography, Singin' and Swingin' and Gettin' Merry Like Christmas. Angelou and her teenage son Guy have moved into a houseboat commune in Sausalito, California. After a year, they move to a rented house near San Francisco. Singer Billie Holiday visits Angelou and her son there, and Holiday sings "Strange Fruit", her famous song about the lynching of Black men, to Guy. Holiday tells Angelou, "You're going to be famous. But it won't be for singing." In 1959, Angelou and Guy moved to New York City. The transition is difficult for Guy, and Angelou is forced to protect him from a gang leader. No longer satisfied with performing in nightclubs, she dedicates herself to acting, writing, political organizing, and her son. Her friend, novelist John Killens, invites her to join the Harlem Writers Guild. She meets other important African American artists and writers, including James Baldwin, who would become her mentor. She becomes a published writer for the first time. Angelou becomes more politically active and participates in African American and African protest rallies, including helping to organize a sit in at the United Nations following the execution of Patrice Lumumba, the ousted prime minister of the Democratic Republic of the Congo. She meets Malcolm X and is struck by his good looks and magnetism. After hearing Martin Luther King Jr. speak, she and her friend, activist Godfrey Cambridge, are inspired to produce a successful fundraising event for King's Southern Christian Leadership Conference (SCLC) called Cabaret For Freedom. King names her coordinator of SCLC's office in New York. She performs in Jean Genet's play The Blacks, with Roscoe Lee Brown, James Earl Jones, and Cicely Tyson. In 1961, Angelou meets South African freedom fighter Vusumzi Make. Angelou and Make never marry, but she and Guy move with Make to London and Cairo, where she acts as his political wife while he is in exile.

All seven of Angelou's installments of her life story are in the tradition of African American autobiography. Starting with I Know Why the Caged Bird Sings, Angelou challenges the usual structure of the autobiography by critiquing, changing, and expanding the genre. Angelou said in 1989 that she is the only serious writer to choose autobiography to express herself, but she reports not one person's story, but the collective's. Scholar Selwyn R. Cudjoe writes that Angelou is representative of the convention in African American autobiography as a public gesture that speaks for an entire group of people. Her use of devices common in fictional writing, such as dialog, characterization and thematic development, has led some reviewers to categorize her books as autobiographical fiction. All of Angelou's autobiographies conform to the autobiography's standard structure: they are written by a single author, they are chronological, and they contain elements of character, technique, and theme. In a 1983 interview with literature critic Claudia Tate, Angelou calls her books autobiographies, and later acknowledges that she follows the slave narrative tradition of "speaking in the first person singular talking about the first person plural, always saying 'I' meaning 'we'". Her approach parallels the conventions of many African American autobiographies written during the abolitionist period in the US when truth was often censored for purposes of self protection. Lyman B. Hagen places Angelou in the tradition of African American autobiography, but insists that she has created a unique interpretation of the autobiographical form. In a 1998 interview with journalist George Plimpton, Angelou discusses her writing process, and "the sometimes slippery notion of truth in nonfiction" and memoirs. When asked if she changed the truth to improve her story, she states, "Sometimes I make a diameter from a composite of three or four people, because the essence in only one person is not sufficiently strong to be written about." The Heart of a Woman is similar to Angelou's previous volumes because it is narrated from the intimate point of view of a woman and a mother, but by this time, she can refer to events that occurred in her past books. Angelou has become a serial autobiographer, something Lupton calls "a narrative structure unsurpassed in American autobiography". for example, Angelou threatens the gang leader who has been threatening her son, a powerful incident when considered in light of Angelou's rape in I Know Why the Caged Bird Sings. Lupton calls Angelou's violent behavior an "unconscious effort to rewrite her own history". which depends less upon the conventions of fiction than her previous books. For example, there is less dialog and fewer dramatic episodes. The vignettes of those she knew well, like Vusumzi Make, also present her interactions and relationships. Hagen writes that although "frank talk seemed to be almost requisite for a commercially successful book" in the early 1980s, Angelou values monogamy, fidelity, and commitment in her relationships. In this book, Angelou ends with a hopeful look to the future as her son attains his independence and she looks forward to hers. Hagen writes, "Faithful to the ongoing themes of survival, sense of self, and continuing education, The Heart of a Woman moves its central figures to a point of full personhood."

Race, like in the rest of the series, is a central theme in The Heart of a Woman. The book opens with Angelou and Guy living in an experimental commune with white people, trying to participate in the new openness between Blacks and whites. She is not completely comfortable with the arrangement; Angelou never names her roommates, even though "naming" has been an important theme in her books thus far. For the most part, Angelou is able to get along well with whites, but she occasionally encounters prejudice, as when she needs help from white friends to rent a home in a segregated neighborhood. Hagen calls Angelou's descriptions of whites and the hopes for eventual equality in this book "optimistic". Angelou continues her indictment of white power structure and her protests against racial injustice. Angelou becomes more politicized and develops a new sense of Black identity. Even Angelou's decision to leave show business is political. She sees herself as a social and cultural historian of her time, and of the civil rights and Black literary movement of the late 1950s and early 1960s. She becomes more attracted to the causes of Black militants in the US and Africa, to the point of entering into a relationship with a significant militant, and becomes more committed to activism. During this time, she becomes an active political protester, but she does not think of herself in that way. She places the focus upon herself and uses the autobiographical form to demonstrate how the civil rights movement influenced her. According to Hagen, Angelou's contributions to civil rights as a fundraiser and SCLC organizer were successful and "eminently effective".

Travel is a common theme in American autobiography as a whole; McPherson writes that it is something of a national myth to Americans as a people. This is also the case for African American autobiography, which has its roots in the slave narrative. Like all of Angelou's books, the structure of The Heart of a Woman is based on a journey. Angelou emphasizes the theme of movement by opening her book with a spiritual ("The ole ark's a moverin'"), which McPherson calls "the theme song of the United States in 1957". Even though Angelou travels to Africa for a relationship, she makes a connection with the continent. Lupton states, "Africa is the site of her growth". Angelou's time in Africa makes her more aware of her African roots as she searches for the past of her ancestors. Angelou begins to identify with other Black women writers for the first time in The Heart of a Woman. She has been influenced by several writers since her childhood, but this is the first time she mentions female authors. Up to this point, her identification has been with male writers; her new affiliations with female writers is due to her emerging feminism. Angelou had begun to write sketches, songs and short stories, and shows her work to her friend John Killens, who invites her to New York City to develop her writing skills. She joins the Harlem Writers Guild and receives feedback from other African American authors such as Killens, Rosa Guy, and Caribbean writer Paule Marshall, who would eventually make significant contributions to African American literature. Angelou dedicates herself to improving her craft, forcing herself to understand the technical aspects of writing. Lupton writes, "Readers can actually envision in this volume the distinguished artist who becomes the Maya Angelou of the 1990s".

Motherhood, a theme throughout Angelou's autobiographies, becomes more complex in The Heart of a Woman. Many years of experience as a mother, and her success as a writer, actress, and activist, enable Angelou to behave more competently and with more maturity, professionally and as a mother. Her self assurance becomes a major part of her personality. Her past conflict between her professional and personal lives are resolved, and she fulfills her promise to Guy she made to him at the end of her previous autobiography that they would never be separated again. Lupton writes that Angelou resolves this conflict by subordinating her needs to her child's. Scholar Wallis Tinnie calls this moment one of "illusive transcendence" and "a scene of hope and completion". For the first time in many years, Angelou will be able to eat a chicken breast alone, something that is valued throughout her books. Lupton calls this thought "perfectly formed". Tinnie states that The Heart of a Woman's "lonely aching" hearkens back to the poem that inspired the book's title. The American Library Association's Choice magazine says that although Caged Bird was the best of Angelou's autobiographies, "every book since has been very much worth the reading and pondering". Janet B. Blundell writes that the book was "lively, revealing, and worth the reading", but also found it "too chatty and anecdotal". Hagen responded to this criticism by stating that all of Angelou's books consist of episodes connected by theme and character. Cudjoe called it "the most political segment of Angelou's autobiographical statement". In 1993, Angelou recited her poem "On the Pulse of Morning" at President Bill Clinton's inauguration; in the following week, sales of her works, including The Heart of a Woman, rose by 300–600 percent. Bantam Books printed 400,000 copies of her books to meet demand. Random House, which published Angelou's hardcover books and the poem later that year, reported that they sold more of her books in January 1993 than they did in all of 1992, marking a 1,200 percent increase. In 1997, Angelou's friend Oprah Winfrey named The Heart of a Woman as a selection in her book club, making it a bestseller and increasing its total printing to over one million copies, sixteen years after its publication.

Angelou, Maya (1981). The Heart of a Woman. New York: Random House. Cudjoe, Selwyn R. (1984). "Maya Angelou and the Autobiographical Statement" in Mari Evans (ed. ), Black Women Writers (1950–1980): A Critical Evaluation. New York: Doubleday. Hagen, Lyman B. (1997). Heart of a Woman, Mind of a Writer, and Soul of a Poet: A Critical Analysis of the Writings of Maya Angelou. Lanham, Maryland: University Press. Lupton, Mary Jane (1998). Maya Angelou: A Critical Companion. Westport, Connecticut: Greenwood Press. Lupton, Mary Jane (1999). "Singing the Black Mother: Maya Angelou and Autobiographical Continuity" in Joanne M. Braxton (ed. ), Maya Angelou's I Know Why the Caged Bird Sings: A Casebook. New York: Oxford University Press. McPherson, Dolly A. (1990). Order Out of Chaos: The Autobiographical Works of Maya Angelou. New York: Peter Lang Publishing.